Social movements throughout the world have been central to history, politics, society, and culture. Observing Protest froma Place examines the impact of one such campaign, the global justice movement, as seen from the southern hemisphere. Drawing upon a collective survey from the 2011 World Social Forum in Dakar, the essays explore a number of vital issues, including the methodological problems of studying international activist gatherings and how scholars can overcome those challenges. Bydemonstrating the importance of the global justice movement and the role of nongovernmental organizations for participantsin the southern hemisphere, this volume is an important addition to the literature on community action.
Since its origin, opera has been identified with the performance and negotiation of power. Once theaters specifically for opera were established, that connection was expressed in the design and situation of the buildings themselves, as much as through the content of operatic works. Yet the importance of the opera house’s physical situation, and the ways in which opera and the opera house have shaped each other, have seldom been treated as topics worthy of examination.
Operatic Geographies invites us to reconsider the opera house’s spatial production. Looking at opera through the lens of cultural geography, this anthology rethinks the opera house’s landscape, not as a static backdrop, but as an expression of territoriality. The essays in this anthology consider moments across the history of the genre, and across a range of geographical contexts—from the urban to the suburban to the rural, and from the “Old” world to the “New.” One of the book’s most novel approaches is to consider interactions between opera and its environments—that is, both in the domain of the traditional opera house and in less visible, more peripheral spaces, from girls’ schools in late seventeenth-century England, to the temporary arrangements of touring operatic troupes in nineteenth-century Calcutta, to rural, open-air theaters in early twentieth-century France. The essays throughout Operatic Geographies powerfully illustrate how opera’s spatial production informs the historical development of its social, cultural, and political functions.
“This is a book about nature and culture,” Eric T. Freyfogle writes, “about our place and plight on earth, and the nagging challenges we face in living on it in ways that might endure.” Challenges, he says, we are clearly failing to meet. Harking back to a key phrase from the essays of eminent American conservationist Aldo Leopold, Our Oldest Task spins together lessons from history and philosophy, the life sciences and politics, economics and cultural studies in a personal, erudite quest to understand how we might live on—and in accord with—the land.
Passionate and pragmatic, extraordinarily well read and eloquent, Freyfogle details a host of forces that have produced our self-defeating ethos of human exceptionalism. It is this outlook, he argues, not a lack of scientific knowledge or inadequate technology, that is the primary cause of our ecological predicament. Seeking to comprehend both the multifaceted complexity of contemporary environmental problems and the zeitgeist as it unfolds, Freyfogle explores such diverse topics as morality, the nature of reality (and the reality of nature), animal welfare, social justice movements, and market politics. The result is a learned and inspiring rallying cry to achieve balance, a call to use our knowledge to more accurately identify the dividing line between living in and on the world and destruction. “To use nature,” Freyfogle writes, “but not to abuse it.”